Here I ran into some issues. First, Nurgle is very large and I didn't want to lose the scope of his "goodness". I also wanted to focus on the Nurglings, holding the grandfather in the background. Secondly, it was necessary to add some dynamic movement and rhythm into the painting, to invoke the look I desired.

By the end of the first week I had finished the line sketch of my image (Fig.03), which allowed me to get a good idea about how the final image was going to end. That's the beauty of lines - in a relatively short period of time you can get a general idea that you can evaluate, use to verify that you're moving in your chosen direction and make changes to with a minimum of problems. A good, old principle that is often overlooked is to work from "the general to the particular". If you work with separate pieces, they might look good on their own but together they probably won't want to dance.

Fig. 03

Fig.04 shows how I distributed the accents in my image. The greater the contrast areas, the stronger the focus and I used this principle to direct the viewer's eyes around the image. This principle is similar to the work of a depth of field effect, where the eye will be drawn to areas of detail rather than blurred areas affected by depth.

Fig.04

These kinds of accents can be implemented in various different ways: color, brightness, saturation, overflow or line break and volume, clarity and turbidity, crushing and solidity, more or less, and so on. In the case of video sequences it's all the same, just a bit more complicated as direction, duration and the nature of the movement are added to this set.

This kind of effect can be seen in the work of all of your favorite artists. Don't believe me? Check it out! Open your favorite image, take a quick look and try to remember the order in which you looked at things and for how long, then analyze why you think that happened. Directing the viewer's eye helps the artist to convey their intention and the story behind the image to the viewer.

I would also like to explain about the curls of smoke fumes of our grandfather. With this I was helped greatly by a book for animators called Elemental Magic - The Art of Special Effects Animation by Joseph Gilland. The basic idea is simple: everything is interconnected and any action or event will generate a chain of other events, as you can see in Fig.05.